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Subject: Re: Kaufmann's Otello
From: Paul Ricchi <[log in to unmask]>
Reply-To:Paul Ricchi <[log in to unmask]>
Date:Wed, 9 Aug 2017 17:02:13 +0000
Content-Type:text/plain
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text/plain (164 lines)


Implausible attraction?

I think one need only read the text for the duet that ends Act 1 to
understand it.

On Tue, Aug 8, 2017 at 10:15 AM donald kane <[log in to unmask]> wrote:

> The fundamental problem with OTELLO and OTHELLO has always
> seemed to me to be the somewhat implausible attraction he has
> for Desdemona.  What is the secret of Desdemona's yearning for
> so innapropriate a lover?  And don't tell me there's no such thing
> as impropriety when it comes to "love".
>
> dtmk
>
> On Tue, Aug 8, 2017 at 10:01 AM, A Katalin Mitchell <
> [log in to unmask]> wrote:
>
> > Well…. thank you for that video – but Vickers is so scary to look at even
> > in repose in this getup that I am not sure how far he has to go to be
> truly
> > frightening, for starters.  He walks in completely calm and regal, and
> > grabs his sword (by the blade???? How can he not slice his hand open?) to
> > threaten D as she begins the plea for Cassio and he asks for the
> > handkerchief.  Kaufmann’s Othello (I saw it live and on video, two
> > performances), is obviously disturbed as he walks in, and can barely
> > restrain his anguish, which increases every second, erupting at same
> time.
> > I found his performance very moving instead of scary, of a slowly
> > disintegrating soul.
> >
> > But I still find that the performance of Domingo and Freni, which I only
> > ever saw in video, the most perfect of them all; I was in tears during
> this
> > scene, they are so emotionally convincing and brilliant.
> >
> >
> > On 8/8/17, 12:31 AM, "Discussion of opera and related issues on behalf of
> > Max D. Winter" <[log in to unmask] on behalf of
> > [log in to unmask]> wrote:
> >
> >     Idia Legray wrote (in another thread):
> >
> >     "After all the hype about how superb the Moor role would be for
> > Kaufmann, frankly, I was
> >     disappointed in his interpretation.  It lacked a certain excitement
> > and foreboding for me."
> >
> >     Saw Kaufmann in the ROH "Otello" yesterday and I would agree with
> that
> > assessment.  I
> >     thought it was splendid, vocally, but it was a very low-key
> > interpretation of a very intense
> >     role.  I don't mean scenery chewing.  Vickers, for example, the
> > greatest Otello in my
> >     experience, was very restrained through much of the opera.  But you
> > always had the sense
> >     of a volcano about to erupt, and when it did erupt - as at the end of
> > Act II and in the Act III
> >     confrontation with Desdemona - the effect was cataclysmic.  Certainly
> > by the last act, one
> >     should feel that Otello has lost it completely and has, in effect,
> > become a homicidal
> >     psychopath.  I did not get that feeling from Kaufmann.  Again, I
> think
> > his singing and
> >     phrasing were superb - as usual - but that animal excitement and
> > feeling of danger was
> >     missing.  Also, I have to admit that, as with the Met's recent
> > production, I was put off by
> >     the lack of any noticeable darkening makeup on Kaufmann.  He did not
> > look any different
> >     from his Werther at the Met.  Otello doesn't have to look like Ving
> > Rhames, but he should
> >     have a noticeably darker complexion than Desdemona, otherwise an
> > important dramatic
> >     element is compromised.
> >
> >     Check out Vickers' Otello here:
> >
> >     https://www.youtube.com/watch?v=wjtKkulTLPw
> >
> >     This could be PSA for a spousal abuse center!  Vickers is crazy
> > terrifying, and you really fear
> >     for Scotto's Desdemona.  I didn't get this feeling when Kaufmann did
> > the same scene.  He
> >     didn't scare me.  And he should have.
> >
> >     (BTW, I can't imagine anyone except a PC-addled moron being offended
> > by Vickers'
> >     makeup.)
> >
> >     MDW
> >
> >
> >
> >
> >
> >
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